Posts Tagged 'Jacob Goble'

Jacob Goble – Studio Visit – July 26th, 2011

Studio Visit: Jacob Goble
Date: Tuesday, July 26th

Location: Greenpoint, Brooklyn

Jacob Goble Studio Visit 7/26/11

Beach Vacation (image courtesy of Jacob Goble)

The Wheel 2011 (courtesy of Jacob Goble)

Jacob Goble

Since our last studio visit with Jacob Goble over a year ago, he has continued to investigate and hone three primary trajectories:

1) A developing series of abstract linear drawings that are non-repeating permutations of an arch shape.

2) Drawings made from observation in park, museum and domestic settings executed with aesthetically varied and developed mark making.

3) Paintings informed by the drawings, photographs and the book of arches.

While each of these elements of Jacob’s total body of work is produced largely independently from one-another, there is also significant crossover between the three directions. Most commonly the observational drawings act as preliminary work to the paintings. Jacob has also incorporated arches from the books of abstract into his paintings focusing on a particular shape and adding color and brushwork. In some paintings the shape/symbol is used as an overlay on an image of a landscape, in effect, encrypting the landscape language. In other paintings the arch shape is within a wholly abstract canvas, investigations on building an image from formal elements alone.

Jacob described the way he chooses his varied images and content as allowing himself to get attached to an idea or image without committing to putting it in all his work. The group discussed the interplay between nature and artifice in Jacob’s work. There seems to be balance between invention, reference, and removal in each of Jacob’s projects. In his directly observed drawings a level of illusionistic abstraction through mark making is apparent. In some paintings Jacob has combined observed landscape with invented elements and color schemes. In his paintings that are made using observed source material, surface details and foreground/background distinctions pull against the illusion of the image depicted. In the abstract arch books there too seems to be an embrace of a fluid evolution of form.

Perhaps on account of its scale, color palette and graphic presentation, one painting accrued more discussion than the others. The largest canvas in the studio depicted a nearly life size depiction of the Wheel of Fortune wheel positioned as if the viewer was a contestant who has just won a trip to New York. Jacob has edited the image he photographed from his television screen, leaving only the iconic wheel and light colored field below. The group discussed the relatively hard-edged and slick mark making used in this painting and compared it to the small preliminary painting that informed the larger final work. The idea of making a drawing of the wheel was discussed as well as a return to using inks to encourage the mark making exhibited in the observed pencil drawings.

When asked how he would formally exhibit his different modes of working, he answered that he would show the different works together, drawings alongside the paintings.

 

-Amanda Lechner

 

Discussion Links:
Keith Tyson
Charles Birchfield
Decorative Art – Met
Structures: The Arch

Beach Bum, 8x10in, Oil on Canvas, 2011

Page 186, 2011

www.jacobgoble.com

Jacob Goble – Studio Visit – May 25th, 2010

Jacob Goble – Studio Visit – Tuesday May 25th, Brooklyn, NY

Studio Fuse is pleased to announce a group visit and discussion with artist Jacob Goble.

http://jacobgoble.blogspot.com/

"I have Shoulders", "Beebox (near)"

Rachael Wren

Book- in progress

Meghan Petras, Susie Hwang, "Bertha's Christmas Vision"

Jacob Goble

Jacob Goble is a painter whose current work rotates between painting, sketching, taking source photos and producing a book of geometric drawings. While many of his paintings use a photographic reference as source material, he also works from direct observation, memory and imagination, sometimes employing all the techniques together. In non-adherence with his sources, Jacob edits and fills in detail, building relationships, emphasis, composition and color based on his own preferences and memory of his subject.  Currently, Jacob is  working on a book of transmutative geometric shapes, a project started as a challenge to find incarnations of non-repeating forms. Each page starts with a grid of simple arches or triangles, and each shape on the grid becomes more graphically complex as it is “read” left to right and top to bottom.

One of the challenges Jacob faces in his work is the apparent separation between his drawing practice and his painting. This is an issue for many painters who enjoy different modes of working. Some of Jacob’s recent paintings attempt to bridge this gap, such as an oil painting of an open drawing book and another painting which depicts a triangular shape like those used in his sketch books. While these paintings employ forms similar to those in the drawings, they seem less a meshing of ideas and more like portraits of the sketchbook or symbol.

Jacob’s work often abuts figuration in incongruous ways. His paintings of inanimate objects , alone or in groups, serve more as portraiture than as still life. In his images of people, there is a level of removal from the figuration. As in Bertha’s Christmas Vision, the subjects are not actual people, but a weathered plastic nativity scene. As another example, the painting of the girl in the fur hat seems like both a jab and a nod to Alex Katz in its simplification and stylization.

Participants discussed the stillness of the paintings relating them to fleeting time. Many of Jacob’s paintings seem to be images of objects or groups of objects that exist together only in a finite instance.

Looking at the paintings entitled I Have Shoulders and Bee Box, the group considered Jacob’s decision making in terms of composition and manner and discussed how these aspects may relate to other painters and to minimalist tropes like the grid and stack.

-Amanda Lechner

Links:

grid and stack.

Fairfield Porter

Luc Tuymans

Fernand Leger

Ballet

Alex Katz interview

Joe Gould

Giorgio Morandi

Stephen Mueller

David Macaulay

Bee Box

Dictionary of Symbols

"Pumpkin" 20x22" oil on canvas 2009


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